!"#$%&"'()*+),-./
0*12!)2!.)34'5*%"'()"!)62!)789:2!;&)
<=*!#$%&2'"*!):"'5)2>=4?@*2%.)72!A)
and Its Film Adaptation
A
B S T R A C T
!"#$%$"&#%'%()*"+#,%'#-./0%'1+#+!2&3#+32&)#452'6"&+%372'#073!#%859$-:2%&;#-%'<#=$9:(7+!";#7'#>?@AB#%';#73+#C(D#%;%$3%372'#D%;"#7'#E2(%';# :)#;7&".32&#-%&79+*#F&*"G2&*"H#7'#>??IJ#,'#D%')#02&H+#-./0%'#+!20+# women in more positive light than men. This short story, however, deals 073!#%8D23!"&1+#323%(#;2D7'%372'#2K#!"&#+2'1+#(7K"J# !"#3"L3#7+#7'#3!"#K2&D# 2K#C&+3M$"&+2'#'%&&%372'#2K#3!"#+2'#:93#73#7+#3!"#CG9&"#2K#3!"#D23!"!%3# is of utmost importance.
The protagonist describes his life from his childhood. His mother 0%'3";#!7D#32#&"D%7'#%8:%:)#%+#(2'G#%+#$2++7:("N#;"$&767'G#!7D#2K#K&""# will and leaving him totally dependent on her. Her attitude changed 0!"'#+!"#K29';#%8$%&3'"&J# !"#$&23%G2'7+3N#'20#+"6"'3""'N#!%;#&%$7;()# 32# G&20# 9$# K&2D# %8 :%:)# 7'32# %'# %;9(3J# 5!7(;!22;# %';# 323%(# $%++7673)# &"D%7'#K2&#!7D#7;"%(+#32#:"#$9&+9";N#%';#%8.&%D$";#.9$:2%&;#:".2D"+# !7+#K%629&73"#"'67&2'D"'3J# !"#7'O9"'."#2K#!7+#9$:&7'G7'G#&"D%7'+#073!# him for ever. After analyzing the short story the paper explores parallels to other works by McEwan and other writers. The importance of the use of the indeterminate article in the title is discussed. Attention is given to the issue of defamiliarization. And the ambivalent attitude of the pro-tagonist towards his mother is examined.
!"#+".2';#$%&3#2K#3!"#$%$"&#;"%(+#073!#3!"#C(D#%;%$3%372'J#F&*"-G2&*"H# !%+# 7D%G7'%376"()# ;"6"(2$";# 3!"# +!2&3# +32&)# 7'32# %8 K9((M:(20'# K"%39&"#C(DJ#,3#$&"+"&6"+#D2+3#2K#3!"#7D$2&3%'3#"("D"'3+#2K#3!"#+!2&3# story, at the same time providing new material largely in keeping with 3!"#2&7G7'%(1+#32'"J# !"#;7&".32&#'23#2'()#"L3&%$2(%3"+N#7'6"'37'G#'"0# +."'"+#32#C((#7'#3!"#+!2&3#+32&)1+#9'+$2H"'#G%$+#:93#%(+2#+H7(K9(()#.!%'G-"+#3!"#'%&&%32&1+#.2DD"'3+#7'32#+."'"+N#%';#3!7+#7+#'23#$9&"()#%8.!%'G"# from telling into showing. The paper discusses the imagery of the mov-ie, especially Oedipal motifs, references to Christ, and the impression
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of blood-red lips. It stresses the stronger role of the teacher from the !2D"#=PD73!#7'#3!"#3"L3B#%';#!7+#7'O9"'."#2'#3!"#2'()#7';"$"';"'3#%.-372'#2K#3!"#$&23%G2'7+3Q3!"#&"6"'G"#2'#E9+MK%."J#,3#7+#%(+2#7D$2&3%'3# 3!%3# 3!"# C(D# 2D73+# %')# 6"&:%(# "L$&"++72'# 2K# 3!"# $&23%G2'7+31+# !%3&";# towards his mother.
A
B S T R A C T
-./0%'1+#452'6"&+%372'#073!#%859$:2%&;#-%'<#7+#%8+!2&3#+32&)#$9:(7+!";# 7'#!7+#6"&)#C&+3#:22HN#3!"#.2((".372'# !"#$%&'()*%&+#$%,!$)#N#7'#>?@AJ> The
+32&)#7+#2'()#%8;2*"'#$%G"+#(2'G#:93#73#0%+#3!"#:%+7+#K2&#%8K9((M:(20'#K"%39&"# C(D#,'-.'/+%-%0-1'/!)2!).%-%#-+34#=52'6"&+%372'#073!#%859$:2%&;#-%'BN# D%;"#7'#E2(%';#:)#;7&".32&#-%&79+*#F&*"G2&*"H#7'#>??IJ# !"#D267"#0%+# &"."76";#K%629&%:()N#07''7'G#+"6"&%(#$&7*"+#%3#7'3"&'%372'%(#C(D#K"+376%(+N# 7'.(9;7'G#3!"#%0%&;#K2&#:"+3#C&+3#02&H#7'#R"'7."#7'#>??IJ#,3#.&"%376"()#;"-6"(2$+#-./0%'1+#D237K+#%';#3!9+#;"+"&6"+#32#:"#;7+.9++";#32G"3!"I!# the short story that inspired it.
,'#-./0%'#02D"'#%&"#2K3"'#+!20'#7'#%8D2&"#$2+7376"#(7G!3#3!%'#3!"7&# male partners. At the same time they can be more passive, too. We see this in his earliest short stories. In “Homemade,” Connie, the ten-year-old +7+3"K#3!"#$&23%G2'7+3N#7+#%867.37D#2K#!"&#:&23!"&1+#7'."+3929+#;"+7&"#:93# were it not for her knowledge of what posture to take and how to use their :2;7"+N#3!"#0!2("#3!7'G#029(;#!%6"#"';";#7'#'23!7'GS#9+";#:)#!7DN#+!"# remains somehow superior in her know-how. In “Pornography” (from the other short story collection, In Between the SheetsN#>?@TBN#302#02D"'#%&"# U97.H()#+";9.";#:)#V1W)&'"#%';#3&)#!%&;#32#$("%+"#!7D#9'37(#3!")#C';#293# %:293#!7+#9'K%73!K9('"++S#2'()#3!"'#;2#3!")#:".2D"#%.376"#%';#3%H"#.&9"(# revenge on him. A similar pattern can be traced in his novels. In The Child
in TimeN#X9(7"1+#$%++76"#0%)#2K#.2$7'G#073!#3!"#(2++#2K#3!"7&#.!7(;#7+#%3#("%+3#
%+#G22;#%+#3!"#%.376"#2'"#$&"K"&&";#:)#P3"$!"'S#7'#3!"#23!"&#.29$("#7'#3!"# +32&)N# !"(D%#7+#'23#2'()#5!%&("+1+#07K"N#:93#7'#+2D"#&"+$".3+#+!"#!%+#%(+2# to mother him. In The Innocent Maria introduces Leonard into the world of sexuality and thus leads him from innocence to maturity. As Jack Slay, X&J#+3%3"+N#4YDZ9.!#2K#-./0%'1+#(73"&%39&"#2K#+!2.H#Y7J"J#!7+#"%&()#293$93Z#
$2&3&%)+#3!"#:&93%(7*%372'#%';#D7+3&"%3D"'3#2K#02D"'#:)#%8$%3&7%&.!%(#+2-># !"# +32&)# %$$"%&";# 2&7G7'%(()# 7'# 3!"# >?@[# P$&7'GMP9DD"&# 7++9"# 2K# Transatlantic
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.7"3)S#%+#!"#:"G7'+#32#D%39&"#%+#%80&73"&N#!7+#%$$&2%.!#32#3!"#&"(%372'+!7$+# :"30""'#D"'#%';#02D"'#:".2D"+#7'.&"%+7'G()#D2&"#K"D7'7+3<#=@BJ#]#(7+3# 2K#-./0%'1+#02&H+#3!%3#K2((20#3!7+#$%33"&'#.29(;#G2#2'J#452'6"&+%372'# 073!#%859$:2%&;#-%'<#.%'#:"#3&"%3";#'23#%+#D7+2G)')#:93#%'#%33"D$3#32# explore new territory.
!"#+32&)#7+#$&"+"'3";#7'#C&+3M$"&+2'#'%&&%372'N#%';#73#7+#3!"#'%D"("++# narrator who is the main character. However, it is the female character, his mother, who plays the primary role and who stands behind almost all his actions.
!"#'%&&%32&1+#K%3!"&#;7";#:"K2&"#!"#0%+#:2&'J#^7+#D23!"&1+#%7D#7'# life was to have children. As she would not consider another marriage he remained her only child and “had to be all the children she had ever want-";<#=@ABJ#_2!7+#&"%+2'N#+!"#3&7";#32#D%H"#!7D#&"D%7'#!"&#+D%((#:%:)#%+# long as possible. She did not pay attention to his physical growth. He was '23#+"'3#32#+.!22(N#!"#+("$3#7'#%8.23N#%';#0!"'#!"#G&"0#322#:7G#K2I#+!"# 4:29G!3#%8.&7:#:";#K&2D#%8!2+$73%(#%9.372'<#=@ABJ#P!"#0%'3";#32#H""$#!7D# 4(767'G#Y!7+Z#C&+3#302#)"%&+#26"&#%';#26"&#%G%7'<#=@`BN#3)7'G#%8:7:#&29';#!7+# neck and feeding him. He did not even think about protesting against this as he did not know any other kind of life and, as he says, “how could I run %0%)#0!"'#,#029(;#:"#+!7337'G#D)+"(K#073!#3"&&2&#:"K2&"#,#G23#CK3)#)%&;+# ;20'#3!"#+3&""3a<#=@`BJ
And then came suddenly change. His mother, still attractive at thirty- "7G!3N#D"3#%8D%'#0!2#K%+.7'%3";#!"&J#4V6"&'7G!3#+!"#b9+3#+0%$$";#2:+"+-+72'+#%';#%((#3!"#+"L#+!"1;#D7++";#293#2'#.%9G!3#9$#073!#!"&<#=@@BJ#P!"# wanted to ask the man home but then she would have to show him her +"6"'3""'M)"%&M2(;#+2'#0!2#:"!%6";#(7H"#%8+D%((#:%:)J# !9+#3!"#:2)#!%;#32# G&20#9$#6"&)#U97.H()c#4 !%31+#0!)#7'#302#D2'3!+#,#!%;#%8(7K"37D"1+#G&20-7'G#9$#32#;2<#=@@BJ#V'"#;%)#!7+#D23!"&#D%&&7"+#!"&#(26"&#%';#3"((+#!"&#+2'# 3!%3#!"#+!29(;#.%((#!7D#_%3!"&J# !"#:2)#!%+#%8C3S#!"#!%+#!%;#3!"D#:"K2&"# but this one is the worst of all. When he regains consciousness:
Y,Z#+%0#3!"#(22H#2'#D)#D23!"&1+#K%."N#.2D$("3"#;7+G9+3#73#0%+J#d2916"# '2#7;"%#!20#D9.!#%8$"&+2'#.%'#.!%'G"#7'#+9.!#%8+!2&3#37D"J#e!"'#,#+%0# 3!%3#(22H#,#&"%(7*";#+!"#0%+#%+#D9.!#%8+3&%'G" #D"#%+#D)#K%3!"&J#=@TB
The narrator moves into the world. First he is sent to an institution, D2+3#$&2:%:()#32#%8!2D"#K2!"#D"'3%(()#!%';7.%$$";J#^"#+%)+c#43!"&"# were all kinds of weird people there and that made me feel more sure of D)+"(K <#=@TBJ#^"#("%&'+#32#&"%;#%';#0&73"N#G"3+#+2D"#b2:#U9%(7C.%372'+N# and, most importantly, is taught by one of the teachers, Mr Smith, how to express himself through dancing and painting. The pictures he paints are worthy of psychiatric analysis. When he is asked to paint his mother:
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4,#D%;"#(%&G"#&";#D293!+#%((#26"!"#$%$"&Q3!%3#0%+#!"&#(7$+37.HQ%';# in the mouths I painted it black. That was because I hated her. Though ,#;7;'13#&"%(()<#=@?BJ# !7+#;29:("#%33739;"N#2K#!%3&";#%';#%33&%.372'N#&9'+# through other parts of his story.
When he is twenty-one he has to start living on his own. He goes to f2';2'#%';#C';+#%8b2:Q0%+!7'G#9$#;7+!"+#7'#%8!23"(#&"+3%9&%'3J# !"&"#!"# :".2D"+#3!"#2:b".3#2K#$"&+".9372'#2K#3!"#$!)+7.%(()#&"$"(("'3N#D"'3%(()#;7+-G9+37'G#.!7"K#.22HJ#W".%9+"#2K#'9D"&29+#%0K9(#+.%:+#2'#3!"#.22H1+#K%."#3!"# narrator calls him “Pus-face”. The Cupboard Man[ is instructed to clean the
D%7'#26"'N#%';#!%+#32#G"3#7'+7;"#73N#:93#7+#3!"'#(2.H";#7'J# !7+#7+#3!"#.22H1+# 7;"%#2K#%8b2H"J# !"#)29'G#D%'#+$"';+#C6"#!29&+#7'#3!"#26"'J#V'#3!"#K2((20-ing day he is told to get in again but this time the cook turns on the heat. e!"'#3!"#:2)#C'%(()#G"3+#293#!"#!%+#+"&729+#:9&'+#2'#!7+#K""3#%';#:%.HJ# !"# next day he comes to the restaurant kitchen intent on revenge. He throws K29&#$7'3+#2K#:27(7'G#27(#7'32#3!"#.22H1+#(%$N#$&%.37.%(()#.%+3&%37'G#!7DN#%$3# $9'7+!D"'3N#$"&!%$+N#K2&#%8D%'#0!2#'23#2'()#$(%)+#.&9"(#b2H"+#:93#&"%;+# 4;7&3)#D%G%*7'"+<#=T[B#%';#.!%+"+#%K3"D"'#02&H7'G#7'#3!"#H73.!"'J
After this the Cupboard Man is too ill to stay in the kitchen, and .%''23#C';#23!"&HJ#^"#&"39&'+#!2D"#32#C';#3!%3#!7+#D23!"&#%';#!"&# '"0#!9+:%';#!%6"#("K3#073!293#("%67'G#%8K2&0%&;#%;;&"++J# !"'#!"#+3%&3+# shoplifting. Finally, he is caught red-handed and sent to prison. Strangely enough, the prison turns out not to be so bad:
-)#."((#0%+'13#6"&)#;7KK"&"'3#K&2D#D)#&22D#7'#-9+0"((#^7((#Y3!"#7'+37-tution in which he stayed till becoming twenty-one]. In fact from the 07';20# 3!"&"# 0%+# %8 D9.!# :"33"&# 67"0# K&2D# D)# $&7+2'# &22D# :".%9+"# ,#0%+#!7G!"	$J8J8J8J8d29#.29(;#.93#$7.39&"+#293#2K#D%G%*7'"+#%';#+37.H# 3!"D#2'#3!"#0%((N#%';#,#0%+'13#%((20";#32#;2#3!%3#7'#D)#&22D#7'#-9+0"((# ^7((J#=TAB
In his opinion, these “three months were the best since I left home” =T`BJ#^"#"'b2)+#3!"#U97"3#&2937'"#2K#3!"#;%)+c#4/%.!#;%)#0%+#(7H"#3!"#2'"# :"K2&"#73J#,#;7;'13#!%6"#32#02&&)#%:293#D"%(+#%';#&"'3J# 7D"#+322;#+37((#K2&# D"N#(7H"#O2%37'G#2'#%8(%H"J#,#:"G%'#32#02&&)#%:293#.2D7'G#293<#=T`BJ#^"# even asks the assistant governor whether he could stay on but “he said 73#.2+3#+7L3""'#$29';+#%80""H#32#H""$#%8D%'#7'+7;"N#%';#3!%3#3!"&"#0"&"# $("'3)#2K#23!"&+#0%737'G#32#.2D"#7'J# !")#;7;'13#!%6"#&22D#K2	+#%((<#=T`BJ
[# g%D7'G#%8.!%&%.3"+#9+"K9(#K2&#.&737.+S#3!%3#6"&)#+$"((7'G#!%+#:""'#%(&"%;)#9+";#7'#
criticism and that is why it is repeated here. However, it should be observed that as in the edition of !"#$%&'()*%&+#$%,!$)# used in this paper the titles of all short stories are written without capitalization, McEwan did not mean to capitalize that “name.” In that edition the +32&)#7+#.%((";#452'6"&+%372'#073!#%8.9$:2%&;#D%'J<
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e!"'#&"("%+";N#!"#C';+#D"'7%(#02&H#7'#%8K%.32&)#0!7.!#!"#;2"+#'23# D7';#4:".%9+"#73#0%+#+2#'27+)#3!%3#)29#;7;'13#!%6"#32#+$"%H#32#%')2'"<# =T`BJ#F&%;9%(()#!"#+32$+#G27'G#32#02&H#%';#+3%&3+#+$"';7'G#D2&"#%';#D2&"# 37D"#7'#%80%&;&2:"#.2'3%7'7'G#'2#.(23!"+#:93#2'()#.9+!72'+#%';#:(%'H"3+J# At the moment of narration he has not been to his workplace for three D2'3!+J#^"#+%)+c#4,#!%3"#G27'G#293+7;"J#,#$&"K"I#7'#D)#.9$:2%&;<#=T?BJ
,'# 3!"# .!&2'2(2G)# 2K# 3!"# +32&)# !7+# K%+.7'%372'# 073!# %8 .(2+";# +$%."# +""D+# 32# !%6"# +9&K%.";# K2&# 3!"# C&+3# 37D"# 0!"'# !"# &"O".3+# 2'# !7+# :"7'G# locked in the oven:
,#3!29G!3#%:293#3!%3#26"'#%8(23J#,#D%;"#9$#;%);&"%D+#%:293#:"7'G#D%;"# 32#+3%)#7'+7;"#%'#26"'J# !%3#+29';+#7'.&";7:("N#"+$".7%(()#%K3"�!%3#,8;7;# 32# E9+MK%."J# ,3# 0%+# 0!%3# ,# K"(3N# 3!29G!N# %';# ,# .29(;'13# !"($# 3!%3J# !"# more I thought about it, the more I realized that when I went to clean the oven the second time I was secretly wanting to be shut in. I was sort 2K#!2$7'G#73#073!293#H'207'G#73N#;2#)29#+""#0!%3#,#D"%'a#,80%'3";#32# :"#K&9+3&%3";J#,#0%'3";#32#:"#0!"&"#,#.29(;'13#G"3#293J# !%3#0%+#%3#3!"# :2332D#2K#D)#D7';J#=TIB
He compares it with his time in prison as follows:
d29#D7G!3#:"#3!7'H7'G#3!%3#0!%3#,#+%7;#%:293#:"7'G#(2.H";#7'#%'#26"'# 0%+# 3!"# +%D"# 3!7'G# %+# :"7'G# (2.H";# 7'# %8 ."((J# g2N# 73# 0%+'13# 3!"# $%7'M $("%+9&"#2K#K""(7'G#K&9+3&%3";J#,3#0%+#%8;""$"&#$("%+9&"#2K#K""(7'G#+%K"J#,'# K%.3#,#&"D"D:"&#'20#07+!7'G#+2D"37D"+#,#!%;#("++#K&"";2DJ#=T`B
But the motif of the oven recurs: “Ever since that oven, I want to be .2'3%7'";J#,#0%'3#32#:"#+D%((<#=T`BJ# !%3#+3%3"D"'3#.%'#:"#.("%&()#9';"&-stood as his wishing to return to his early childhood, or even to the womb, and is expressed in the sentences opening the penultimate paragraph:
,#;2'13#0%'3#32#:"#K&""J# !%31+#0!)#,#"'6)#3!"+"#:%:7"+#,#+""#7'#3!"#+3&""3# being bundled and carried about by their mothers. I want to be one of 3!"DJ#e!)#.%'13#73#:"#D"a#e!)#;2#,#!%6"#32#0%(H#%&29';N#G2#32#02&HN# cook my meals and do all the hundred things you have to do each day to H""$#%(76"a#,#0%'3#32#.(7D:#7'#3!"#$&%DJ#=T@B
!"#59$:2%&;#-%'#7+#3!"#C&+3#2K#%80!2("#+"&7"+#2K#-./0%'#.!%&%.- 3"&+#0!2#3&)#32#&"G&"++#32#.!7(;!22;#=.KJ#h)%'#TBJ#P7D7(%&#%33"D$3+#%3#&"-G%7'7'G#3!"#(2+3#!%$$7'"++#2K#3!"#"%&()#$!%+"#2K#2'"1+#(7K"#.%'#:"#K29';#K2&# example in The Cement Garden (Tom, and partly Jack), The Child in Time (Charles Drake), or the television play 5+02% 6)+7#%8!"$9:+4%;)6)<"+$!'=. i%67;#-%(.2(D#.2D"+#9$#073!#%'23!"&#U9%(7C.%372'N#+""7'G#!7D#%+#2'"#
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of the series of “the alienated, the losers, the isolated and marginalized CG9&"+<#=IIBN#%$$"%&7'G#7'#D%')#-./0%'#+!2&3#+32&7"+J
]#D23!"&1+#;7+%+3&29+#7'O9"'."#2'#!"&#+2'1+#(7K"#7+#'23!7'G#'"0#7'#(73"&%-ture. One of the best known examples might be >'=#%+=:%&'()"##:)#iJ^J8f%0-rence, in which the mother dominates the life of her sons, compensating for !"&#;7+%$$27'3D"'3#073!#!"&#!9+:%';S#!20"6"&N#3!"#'26"(#"';+#2'#%'#2$37D7+-37.#'23"c#E%9(#-2&"(#;".7;"+#C'%(()#32#3!&20#%0%)#3!"#;"+$237+D#2K#!7+#;"%;# D23!"&J#]'23!"'+3%'."#7+#]'G9+#e7(+2'1+#+!2&3#+32&)#4-23!"&1+#P"'+"#2K# Fun” (from the collection ?9)%@"'=A%>)$B#0!7.!#D7G!3#:"#&"%;#%+#%8$%+37.!"# of >'=#%+=:%&'()"#N#:93#G27'G#%8+3"$#K9&3!"&Q3!"#;"%3!#2K#3!"#$&23%G2'7+31+# D23!"&#.!%'G"+#'23!7'G#7'#!7+#(7K"S#0!%3#+!"#!%+#:&";#7'#!7D#07((#&"D%7'#7'#!7+# psyche till his death and direct all his actions. Incidentally, Angus Wilson was 2'"#2K#-./0%'1+#3932&+#;9&7'G#!7+#.29&+"#2K#.&"%376"#0&737'G#%3#3!"#j'76"&+73)# 2K#/%+3#]'G(7%#=%#.29&+"#7'#0!7.!#!"#0%+#3!"#6"&)#C&+3#+39;"'3N#%';#7'#3!7+# C&+3#)"%!"#2'()#2'"BS#73#0%+#;9&7'G#3!%3#.29&+"#3!%3#452'6"&+%372'#073!# %859$:2%&;#-%'<#0%+#0&733"'J#-./0%'#;"+.&7:";#3!"#&"%.372'#2K#!7+#3932&+# to that story in an interview with William Leith: “Angus [Wilson] liked the nastiness. Malcolm [Bradbury] was pleased with the literary pastiche” (qtd. 7'#W)&'"+8`kBJ#,'#%'23!"'3"&67"0#-./0%'#"L$%';+#2'#!7+#9+"#2K#$%+37.!"c
I very much admired The CollectorJ#,#+37((#;2J#,#3!7'H#731+#_20("+1+#:"+3# :22HJ#,'#452'6"&+%372'#073!#%859$:2%&;#-%'<#,#0%'3";#32#;2#3!"#H7';# of voice of the man in The Collector: that kind of wheedling, self-pitying (20"&#D7;;("M.(%++#627."J#=^%D7(32'#U3;J#7'#5!7(;+#>>B
-./0%'#$&"+"'3+#3!"#+32&)#7'#3!"#K2&D#2K#3!"#'%&&%32%(H7'G#32#%8+2-cial worker. The presence of the other person can be gathered only because the narrator addresses him in his speech. From the very beginning McEwan !22H+#3!"#%33"'372'#2K#3!"#&"%;"&#:)#$&"+"'37'G#3!"#+32&)#%+#%8$9**("c
d29#%+H#D"#0!%3#,#;7;#0!"'#,#+%0#3!7+#G7&(J#e"((N#,1((#3"((#)29J#d29#+""# the cupboard there, it takes up most of the room. I ran all the way back 3!"&"N#.(7D:";#7'+7;"#%';#32++";#D)+"(K#2KKJ#i2'13#3!7'H#,#3!29G!3#%:293# 3!"#G7&(#0!7("#,#;7;#73J#g2N#,#.29(;'13#:"%!%3J#,#0"'3#:%.H#7'#D)#D7';# 37((#,#0%+#3!&""#K""3#!7G!J# !%3#D%;"#73#.2D"#U97.H"&J#=@AB
-%+39&:%372'#!"&"#7+#%8$%&%;2L7.%(()#%+"L9%(#%.3N#%';#3!&29G!293#3!"#+32&)# sexuality seems of little real importance for the main character. What really at-tracts his attention is the lost happiness of his early childhood. The cupboard is so alluring because it reproduces the claustrophobic conditions of the womb.
The story is characterized by defamiliarization of the topic. Cowley states that according to McEwan the aim of the artist is to “‘deanesthetize
129
3!"#K%D7(7%&1Q:)#0!7.!#!"#D"%'+#3!%3#3!"#02&(;#%&29';#9+N#3!"#02&(;#32# 0!7.!#0"#!%6"#.2D"#32#.2'+.729+'"++#K&2D#:%:)!22;N#!%+#%802';"I!# 0!7.!#0"#!%6"#:".2D"#322#K%D7(7%&<#=520(")#U3;J#7'#-%(.2(D#k>BJ# !"# .&"%372'# 2K# %8 ;"&%'G";# .!%&%.3"&# D%H"+# 73# $2++7:("# 32# $&"+"'3# $&2:("D+# already treated in literature in an original way.
]'#7'3"&"+37'G#K"%39&"#2K#3!"#373("#7+#3!"#9+"#2K#3!"#7';"C'73"#%&37.("N# D%H7'G#3!"#D%7'#.!%&%.3"&#%8&"$&"+"'3%376"#2K#%'#7D%G7'%&)#G&29$#2K#$"2-$("Q59$:2%&;#-"'J#^7+#"L$"&7"'."+#D7G!3#+""D#32#!%6"#%807;"&#:%+7+# 3!%'# b9+3# 3!"# (7K"# 2K# %'# 7';767;9%(J# l7"&'%'# h)%'# $93+# 73# 3!7+# 0%)c# 4,3# 7+# the hidden emotional history of many men, grotesquely caricatured as the .2'K"++72'#2K#%8D%;D%'<#=h)%'#TBJ#](3!29G!#3!"#02&;#4D%;D%'<#+""D+# to be too strong in the case of the Cupboard Man, his mind has certainly been seriously disturbed. The use of “a” in the title seems to overrule the 02&;+#2K#3!"#'%&&%32&c#4 !"&"#.%'13#:"#D%')#(7H"#D"<#=T@BJ
!"#%33739;"#2K#3!"#'%&&%32ŀ%&;+#!7+#D23!"+#2K#%8D7L";#'%39&"J# On the one hand, he is very critical of her: “She was twisted up, you H'20N#3!%31+#0!"&"#,#G23#73#K&2D<#=@ABN#4P!"#0%+#7'+%'"<#=@`BJ#^"#.%((+# !"&#%84:73.!<#=@`BJ#W93#%3#3!"#+%D"#37D"#!"#+%)+#2K#!7+#.!7(;!22;c#4,1((#3"((# )29#%8K9'')#3!7'GJ#,80%+'13#9'!%$$)N#)29#H'20J#P!"#0%+#%((#&7G!3#&"%(()<# =@`BJ#e!"'#!"#&".%((+#3!"#37D"#+!"#&"%;#!7D#+32&7"+N#2&#!"($";#!7D#D%H"# %832)#3!"%3&"#293#2K#%8K&973#:2L#!"#+%)+c#4P!"#0%+#%8G22;#02D%'#&"%(()N#D)# D23!"&J#X9+3#307+3";N#3!%31+#%((<#=@`BJ !7'G+# .!%'G";# .2'+7;"&%:()# 0!"'# 3!"# D23!"&# K29';# %8 D%'J# 4P!"# 0"'3#D%;#K2!7+#K"((20N#%+#7K#+!"#0%+'13#D%;#%(&"%;)<#=@@BJ#^"&#%33739;"# 320%&;+#!"&#.!7(;#+9;;"'()#.!%'G";Q+!"#0%'3";#!7D#32#G&20#9$#%';#$"&-form all those functions she had so far denied him. When this does not happen quickly enough she decides to present him as “mentally subnor-D%(<#=@@B#32#!"&#(26"&J# !"#D%'#;2"+#'23#(7H"#3!"#:2)c#4:".%9+"#!"#0%+# :7G#%';#+9.."++K9(#!"#!%3";#D"#%3#C&+3#+7G!3J8J8J8J8_7&+3#37D"#!"#b9+3#'2;;";# 0!"'#D)#D23!"'3&2;9.";#D"#32#!7D#%';#%K3"&#!"#'"6"&#+%7;#%802&;#32# D"<#=@@BJ# !"#%33739;"#7+#&".7$&2.%3";c#4,#!%3";#!7D#:".%9+"#!"#!%;#3%H"'# D)#D23!"&<#=@@BJ# !"#59$:2%&;#-%'#+3%3"+#3!%3#%K3"!"#C3#!"#+9KK"&";# K2((207'G#3!"7�";;7'G#!"#+%0#;7+G9+3#7'#!7+#D23!"&1+#K%."#%';#&"%(7*";# !20#D9.!#+!"#!%;#.!%'G";N#:".2D7'G#%8+3&%'G" #!7DJ#W93#%K3"&#!"#!%+# (2+3#!7+#b2:#%3#3!"#&"+3%9&%'3#!"#;".7;"+#32#&"39&'#!2D"c
I began to think back to the old days when I was with my mother. ,8 07+!";# ,# 0%+# :%.H# 3!"&"J# !"# 2(;# .2332'M022(# (7K"# 0!"'# "6"&)3!7'G# was done for me, warm and safe. It sounds pretty stupid, I know, but ,8+3%&3";#3!7'H7'G#3!%3#$"&!%$+#D)#D23!"&#!%;#G23#37&";#2K#3!%3#D%'#+!"# !%;#D%&&7";#%';#3!%3#7K#,#0"'3#:%.H#0"#.29(;#.%&&)#2'#3!"#2(;#(7K"J#=T[B
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This turns out to be impossible, as his mother and her husband have disappeared. Thus what remains for the main character is to try and return to an environment reminding him of the old safety. The wardrobe. To enhance 3!"#"KK".3#2K#3!7+#402D:<#!"#%;;+#32#73#%8&"D7';"K#!7+#.!7(;!22;#;%)+c#
!"#23!"&#;%)#,#+32("#%8:(%'H"3#K&2D#%8$&%DJ#,#;2'13#H'20#0!)N#,8+9$-pose I had to make contact with their world, to feel I was not completely 7&&"("6%'3#32#73J8J8J8J8,#H""$#3!%3#:(%'H"3#,#+32("#7'#3!"#.9$:2%&;J#,80%'3#32# C((#73#073!#;2*"'+#(7H"#73J#=T@B
When talking about his attitude towards his mother it seems appropri-ate to return to the scene of painting in the home. His words “That was :".%9+"#,#!%3";#!"&J# !29G!#,#;7;'13#&"%(()<#=@?B#D7G!3#+9GG"+3#3!%3#3!"#&";# colour used for painting her lips might not have been used only to render her lipstick, as the narrator suggested, but might stand for his love (the black inside expressing his hatred).
!"#D23!"&1+#7&&"+$2'+7:("#%33739;"#2K#C&+3#D2'2$2(7*7'G#!"&#.!7(;N# blocking all his contacts with the outside world and keeping him in an arti-C.7%(#+3%3"#2K#$&2(2'G";#7'K%'.)N#3!"'#&"b".37'G#!7D#%';#("%67'G#!7D#2'#!7+# own, totally unprepared to cope with the world, is additionally strength- "'";#7'#3!"#+!2&3#+32&)#:)#D"%'+#2K#:"7'G#$&"+"'3";#7'#3!"#K2&D#2K#%8.2'-fession of the victim of her egoism.
m#m#m
-%&79+*# F&*"G2&*"H1+# C(D# %;%$3%372'# 7+# 6"&)# &%&"()# D"'372'";# 7'# McEwan criticism in English. McEwan himself knows it. In an interview 073!# X"&*)# X%&'7"07.*# !"# D"'372'";# 3!%3# !"# !%;# &"."76";# %8 .2$)# 2K# 3!"# C(D#K&2D#3!"#;7&".32&#!7D+"(KJ#^20"6"&N#!"#(7D73";#!7+#.2DD"'3#32#3!"# +3%3"D"'3#3!%3#73#0%+#%86"&)#G22;#C(DN#+3&%'G"#%';#;"$&"++7'G#:93#3!"'#3!"# +!2&3#+32&)#73+"(K#0%+#;"$&"++7'GQ%';#!"#3!"'#3%(H";#%:293#3!"#$%.H"3#7'# 0!7.!#3!"#C(D#%&&76";c#%8("33"I!#%80%L#+3%D$N#37";#073!#+3&7'G+N#3&9()# %8+.9($39&"#=[[BJ#]D2'G#.&737.+N#2'()#5J#W)&'"+#%$$"%&+#32#D"'372'#3!"# C(D#=`kB#:93#"6"'#+!"#+%)+#(733("JI
]# C(D# (76"+# 7'# %8 ;7KK"&"'3# +$!"&"# 2K# .2'3"L3+N# %';# C(D# .&737.+# !%6"# %8;7KK"&"'3#+"3#2K#&"K"&"'."+#K&2D#(73"&%&)#.&737.+J#F&*"G2&*"H1+#C(D#!%+# been compared to works by Ingmar Bergman, especially those touching 3!"#&"+9(3+#2K#26"&$&23".376"#D23!"&()#(26"J#P2D"#.&737.+#!%6"#+""'#%8+7D-7(%&73)# 2K# 3!"# D%7'# .!%&%.3"&# 32# l%+$%&# ^%9+"&# K&2D# e"&'"&# ^"&*2G1+#
I# W)&'"+#"&&2'"29+()#.!%'G"+#3!"#373("#2K#3!"#D267"N#9+7'G#3!"#C&+3#'29'#7'#$(9&%(#
(“Rozmowy”) but then she makes the same mistake for the short story itself, calling it 452'6"&+%372'+#073!#%859$:2%&;#-%'J<
131
D267"Q%#D)+3"&729+#.!%&%.3"&#&%7+";#7'#7+2(%372'#K&2D#3!"#02&(;N#3!"'# +9;;"'()#("K3#7'#3!"#D7;;("#2K#3!&2::7'G#.73)#(7K"#=.KJ#Hb*BJk It can also be
treated as expressing the views of the director himself. In an article in the Polish monthly Kino, Mariusz Grzegorzek wrote: “I feel bad. The art as ,8K""(#%';#9';"&+3%';#73N#7+#3&"%3";#32;%)#%+#%8D7+9';"&+3%';7'GN#73#!%+#(2+3# 73+# 7D$%.3J# ,# 029(;# (7H"# 32# +%6"QK2&# D)+"(K# %';# 23!"&+Q3!7+# 7'3"'+76"# emotion, this way of looking at the world, which gave me the strength to (76"<#=F&*"G2&*"H#>IN#3&%'+(%372'#D7'"BJ
F&*"G2&*"H1+#D267"#7+#%'#7'3"&"+37'G#;"6"(2$D"'3#2K#-./0%'1+#+!2&3# +32&)#%';#73#7+#%8$73)#3!%3#3!"&"#!%+#:""'#(733("#.2D$%&7+2'#2K#:23!#02&H+J# It preserves most of the important elements of the short story, at the same time providing new material largely in keeping with the original. It is not 2'()#3!%3#3!"#;7&".32&#!%+#32#"L3&%$2(%3"N#7'6"'37'G#'"0#+."'"+#32#C((#7'# untold gaps in the story (for example, the scenes showing the problems 073!#";9.%372'#%93!2&737"+#0!2#0%'3#32#D%H"#3!"#:2)#%33"';#%8+.!22(BJ# F&*"G2&*"H# +H7(K9(()# .!%'G"+# 3!"# '%&&%32&1+# .2DD"'3+# 7'32# +."'"+N# %';# 3!7+#7+#'23#$9&"()#%8.!%'G"#K&2D#3"((7'G#32#+!207'GJ#V'"#2K#3!"#D2+3#7D-portant elements is the rendering of the attitude towards the mother. !"#+!2&3#+32&)#7+#D%&H";#:)#%8D7L";#%33739;"#2K#3!"#'%&&%32ŀ%&;+#!7+# D23!"&#n#2'"#2K#!%3&";#%';#(26"J#,'#3!"#C(DN#l%&2(#;2"+#'23#$&2'29'."# %8+7'G("#'"G%376"#02&;#%G%7'+3#!7+#D23!"&J#g"73!"'#;7&".3#+$"".!#'2'# the voice-over fragments expressing his thoughts do we hear that he hates her. What remains from the book are his comments that she is strange, very strange, and somehow twisted. He also says that he misses his mother %';#(2'G+#K2&#!"&J#^20"6"&N#3!"#67"0"&+#.%'#D%H"#3!"7'#b9;G"D"'3+# 2'#3!"#:%+7+#2K#3!"#D23!"&1+#%.372'+J
!"#C(D#D%H"+#3!"#D23!"&#"6"'#D2&"#7D$2&3%'3#3!%'#+!"#7+#7'#3!"#+!2&3# +32&)J#P!"#7+#.2'37'9%(()#$&"+"'3#2'#+.&""'#7'#3!"#C&+3#!%(KN#9'37(#3!"#:2)#7+# sent to the home, and in the second half she still appears in his dreams.
The narrator of the short story describes himself as “thin and blood-("++<#=@@BJ# !"#.!27."#2K#h%K%o#V(:&).!+H7#K2!7+#&2("#7+#%8:9((1+M")"Q!"# C3+#3!7+#;"+.&7$372'#$"&K".3()J# !7+#7D$&"++72'#7+#"'!%'.";#:)#!7+#$2+39&"N# "L$&"++7'G#!7+#323%(#(%.H#2K#+"(KM.2'C;"'."J# !"#.2'3&%+3#:"30""'#3!"#302# characters, mother and son, is striking.
!"#C(D#2$"'+#073!#%'#"L3&"D"#.(2+"M9$#2K#%8$7.39&"#2K#5!&7+3N#+3%&3-ing with his exposed heart. Then the camera tracks back to show the whole $%7'37'GJ# !7+#!%+#%8;29:("#7D$2&3%'."J#V'#3!"#2'"#!%';N#73#7'3&2;9."+#3!"# .!%&%.3"K#3!"#&22D+#7'#3!"#C(DQ:23!#3!"#!2D"#O%3#2K#l%&2(#=3!7+#7+#3!"# '%D"#2K#3!"#59$:2%&;#-%'#7'#3!"#C(DB#%';#3!"#&22D#!"#&"'3+#(%3"&#!%6"#
k#
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many religious pictures on the walls. On the other hand, several scenes +!207'G#3!"#%;9(3#l%&2(#%&"#+!23#7'#%80%)#3!%3#(7H"'+#!7D#32#5!&7+3#7'#%8$7-"3pJ#V'"#D2&"#+."'"#+!29(;#:"#D"'372'";#7'#3!7+#.2'3"L3c#%K3"!"#'"0# 4K%3!"&<#!%+#:""'#7'3&2;9.";#32#3!"#:2)#%';#!"#K%((+#7'32#%8C3#0"#%&"#+!20'# %8.(2+"M9$#2K#%8$7.39&"#2K#3!"#^2()#R7&G7'S#3!"'#.%'3";#K&%D7'G#7+#9+";NA
the angle becoming more and more oblique, so that Mary appears to bow her head in compassion.
!"#%.372'#2K#3!"#C(D#+3%&3+#;&%D%37.%(()J#]K3"&#%8+!2&3#+."'"#073!#3!"# 627."M26"'#0!7.!#l%&2(#+%)+#3!%3#!"#K""(+#C'"N#3!%3#!"#;2"+#'23#'"";#%')# .!%'G"N#3!%3#!"#$&"K"&+#32#+3%)#!"&"N#7'#!7+#.9$:2%&;N#0"#D26"#32#%8D2&G9"J# V'#+""7'G#3!"#;"%;#:2;)#2K#!"&#!9+:%';N#l%&2(1+#D23!"&#!%+#.2'3&%.372'+# %';#7+#.("%&()#G27'G#32#G76"#:7&3!#32#l%&2(J# !9+#K&2D#3!"#6"&)#:"G7''7'G# l%&2(#7+#+!20'#%+#%8&"$(%."D"'3#K2&#!"&#;"%;#$%&3'"&J F&*"G2&*"H#!%+#%;;";#302#+."'"+#7'3"';";#32#"L$&"++#3!"#D23!"&1+# %33739;"#32#l%&2(J# !"#C&+3#+!20+#!"&#K"";7'G#3!"#:%:)#l%&2(#073!#G&9"(S# 7'# 3!"# D7;;("# 2K# 3!"# $(%3"# 7+# %8 +3&%0:"&&)# 3!%3N# %..2&;7'G# 32# !"&# 02&;+N# 7+# D"%'3# K2&# 3!"# H7;# %+# %8 &"0%&;# %3# 3!"# "';# 2K# 3!"# D"%(J# P!"# 3&"%3+# 3!"# .!7(;#073!#3"';"&'"++N#G767'G#!7D#+$22'K9(#%K3"&#%8+$22'K9(#9'37(#!"#3&7"+#32# grasp the fruit. Whereupon she shouts at him and slaps him violently. The 23!"&#+."'"#7+#.2''".3";#073!#%867+73#:)#%8$2+302D%'N#0!2#G76"+#l%&2(N# '20#"7G!3#)"%&+#2(;N#%8+0""3J#e!"'#+!"#7+#G2'"N#3!"#D23!"%H"+#3!"#+0""3# away from him and says that it must surely be poisoned. She puts it into !"&#D293!#%';#7'#%8+".2';#+3%&3+#+!2937'G#073!#$%7'#%';#0&7GG(7'G#7'#.2'-69(+72'+J# ]K3"&# +!"# !%+# K"7G'";# +9KK"&7'G# +9KC.7"'3()# (2'G# 32# !%6"# G76"'# !7D#%8("++2'N#+!"#+%)+c#4i2'13#:"#%K&%7;N#l%&2(J#-9DD)#07((#&".26"&#+22'J<# Both scenes show her as an egoist willing to impose her will on the child %';#D%H"#!7D#%8:(7';#K2((20"K#!"&;"&+J#P!"#3&7"+#!%&;#32#;"$&76"#!7D# of free will and initiative, and she succeeds.
W23!#7'#3!"#+!2&3#+32&)#%';#3!"#C(DN#3!"#59$:2%&;#-%'1+#+3%)#7'#3!"# !2D"#K2&D+#%'#7D$2&3%'3#.29'3"&$27'3#32#!7+#D23!"&1+#7'O9"'."J#F&*"-G2&*"H#;"6"(2$+#3!"#&2("#2K#PD73!#=%+#3!"#C(D#7+#+"3#7'#E2(%';N#PD73!# :".2D"+#l20%(+H7N#73+#E2(7+!#"U976%("'3N#%8.2DD2'#+9&'%D"N#%';#!"&"# 322#3!"#59$:2%&;#-%'#+%)+#3!%3#73#;2"+#'23#+29';#D9.!#2K#%8'%D"BS#!"# teaches the boy to read, to listen to sounds, to move his body, and, what 7+#D2+3#7D$2&3%'3N#32#:"#329G!J#4d29#!%6"#32#("%&'#32#(76"#%(2'"J#d29# D9+3#:"#329G!J#i2'13#("3#%'):2;)#!9&3#)29J<# !7+#%;67."#7+#'"0#73"DN# %:+"'3#7'#3!"#+!2&3#+32&)J# !%'H+#32#73N#3!"#)29'G#D%'1+#&"%.372'#;9&7'G# 3!"#.2'O7.3#7'#3!"#&"+3%9&%'3#H73.!"'#7+#%8(2G7.%(#.2'+"U9"'."#2K#PD73!1+# teaching: for once in his life he manages to take the initiative and
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f2&D#%'#%.372'#7'+3"%;#2K#b9+3#K2((207'G#23!"&+1#2&;"&+J#W93#!7+#"'"&G)# 7+#U97.H()#+$"'3#%';#!"#&"39&'+#32#!7+#.9$:2%&;J#](3!29G!#PD73!1+#7'-O9"'."#!%+#!"($";#!7D#32#:".2D"#%.376"#K2&#%80!7("N#73#7+#!7+#D23!"&1+# 7'O9"'."#3!%3#07'+#7'#3!"#"';#%';#!"#&"3&"%3+#7'32#!7+#$%++7673)J# !7+#7+# D2&"#;""$()#K"(3#7'#3!"#C(D#%+#73#2D73+#3!"#:2)1+#+!2$(7K37'G#%';#3!"'#!7+# 7D$&7+2'D"'3J#^7+#C'%(#7'%.37673)#=%+#7'#3!"#:22HN#!"#!%+#'23#("K3#!7+#O%3# for three months at the time of narration) is clearly contrasted with his single sign of activity.]#$20"&K9(#;7+37'.372'#:"30""'#3!"#C(D#%';#3!"#:22H#7+#3!"#"+.%$"# sought by the main character. In both versions he longs to stay in the cupboard. In the short story he seeks the cramped peace of the womblike "'67&2'D"'3S#3!"#26"'#"62H"+#7'#!7D#:23!#&"$9(+72'#%';#%33&%.372'J#,'#3!"# chronology of the story presented in the book, the cupboard appears rela-tively late, as an attempt to return#32#3!"#G22;#;%)+#2K#7'K%'.)J#,'#3!"#C(D# l%&2(#C';+#"+.%$"#7'#3!"#.9$:2%&;#%+#+22'#%+#!7+#D23!"&#+3%&3+#;%37'GJ#]';# what he seems to be attracted by in the movie is not so much the limited space but the peace and quiet, and also the atmosphere of childhood. In his dreams he returns to the world of fairy-tales that his mother used to &"%;#!7DJ#P"6"&%(#2K#!7+#;&"%D#+."'"+#;2#D9.!#D2&"#3!%'#b9+3#+7G'%(#!7+# (26"#2K#K%7&)M3%("+S#7'#3!"7&#.2D$(7.%3";#67+72'N#7'#3!"7'"7&7.#U9%(73)#%';# sophisticated symbolism they deserve an analysis going beyond the scope of this paper.
!"#C(D#3&%."+#V";7$%(#+3&%';+#7'#3!"#D23!"&1+#:"!%6729&J#P!"#%';# l%&2(#+(""$#7'#%8:7G#D%&73%(#:";J#/%&()#7'#3!"#C(D#+!"#.%&&7"+#!"&#:%:)#0!7("# looking at photographs of her late husband, and we hear extradiegetic mu- +7.N#%8K&%GD"'3#2K#%8+2'G#3!%3#D9+3#!%6"#:""'#!"&#%';#3!"#!9+:%';1+#K%629&-73"J#e!"'N#(%3"&N#3!"#+%D"#+2'G#7+#$(%)";#2'#3!"#&%;72N#+!"#3%H"+#l%&2(#7'#!"&# arms and dances with him.
]'#7D$2&3%'3#+37D9(9+#K2&#!"&#.!%'G"#7+#%8(26"#+."'"#2'#3"("67+72'# 3!%3#3!")#0%3.!#32G"3!"&c#%8.29$("#%&"#H7++7'G#$%++72'%3"()J#P!2&3()#%K3"&-0%&;N#+!"#+"%&.!"+#3!&29G!#%8;&%0"&#%';#C';+#%8(2'GM'"G(".3";#:9';("J# V93#2K#73#+!"#3%H"+#%'#2:b".3#3!%3#+!"#H""$+#7'#!"&#.(2+";#C+3J#]#.(2+"M9$# +!20+#!"	'.("'.!7'G#3!"#C+3S#+!"#(22H+#%3#3!"#2:b".3#073!#3"'+72'J#,3#7+# %8(7$+37.HN#:(22;#&";J#,'#"L3&"D"#.(2+"M9$#0"#0%3.!#!"&#%$$()#73#32#!"&#(7$+J# P!"#;&"++"+#9$#%';#:"K2&"#G27'G#293#H7++"+#l%&2(#2'#3!"#K2&"!"%;N#("%67'G# 3!"&"#%8G&23"+U9"#7D$&7'3#2K#!"&#:(22;M&";#(7$+#=%';#3!7+#D7G!3#:"#$%&3# compensation for the missing scene where the boy paints her red mouth 073!#:(%.H#7'+7;"N#%3#3!"#!2D"S#$%&3#.2D$"'+%372'#:".%9+"#!"&"#3!"&"#7+# no black).
!"#59$:2%&;#-%'1+#627."M26"&#"';7'G#3!"#C(DN#!7+#.2'K"++72'#3!%3# he wants to stay in his cupboard, leaves the viewer in no doubt that all his
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actions, the only exception his revenge on Pus-face, have been shaped by his mother.`#F&*"G2&*"H1+#;".7+72'#32#2D73#%((#6"&:%(#+7G'%(+#2K#3!"#+2'1+# hatred seems to have worked perfectly. The tragic consequences of the D23!"&1+#;2D7'%372'#%&"#3!9+#"6"'#D2&"#+3&7H7'GJ
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ORKS CITEDW2&;0"((N#i%67;N#%';#l&7+37'# !2D$+2'J#Film Art: An Introduction. _7K3!#";7372'J#g"0#d2&Hc#-.F&%0M^7((N#>??@J
Byrnes, Christina. ?9)% @'"2% '3% B+=% C0D/+=E% F% G#409':4=+.!0%
FH-proachJ#g2337'G!%Dc#E%9$"&+1#E&"++N#[\\kJ
Childs, Peter, ed. The Fiction of Ian McEwan: A Reader’s Guide to
Es-sential Criticism.#W%+7'G+32H"c#E%(G&%6"#-%.D7((%'N#[\\`J
F&*"G2&*"HN#-%&79+*J#4q%(#3%H#Do2;2#9D7"&%rJ<#Kino#g26J#>??kc#>[n>IJ l"*7.!N# 9((72J#4];;72N#D%;&"#.&9;"("c#D"G(72#+3%&#.!79+2#;"'3&2# (1%&D%;72J<#Corriere della Sera#>#P"$3J#>??Ic#[>J
Hb*J#4h2*D20%#*#.*o207"H7"D#*#+*%K)J<#I+-)$+%@4<'"0-+#[k#_":J#>??`N# 4F%*"3%# "("07*)b'%<c#kJ -./0%'N#,%'J#452'6"&+%372'#073!#%859$:2%&;#-%'J<# !"#$%&'()*%&+#$% RitesJ#f2';2'c#E%'N#>?@`J MMMJ#,'3"&67"0#073!#X"&*)#X%&'7"07.*J#4E23&*":9b"D)#'7"$&%0;*70).!# D73s0J<#I+-)$+%@4<'"0-+#I\#V.3Jn>#g26J#>???c#[\N#[[J
Malcolm, David. Understanding Ian McEwan. Columbia: University 2K#P293!#5%&2(7'%#E&"++N#[\\[J
h)%'N#l7"&'%'J#Ian McEwanJ#E()D293!c#g2&3!.23"N#>??kJ Slay, Jack Jr. Ian McEwanJ#g"0#d2&Hc# 0%)'"N#>??`J
`# ](3!29G!#73#D7G!3#+""D#2:6729+#3!%3#3!"#+32&)#2K#3!"#C(D#+!29(;#:"#7'3"&$&"3";#
(73"&%(()N#%'#,3%(7%'#.&737.N# 9((72#l"*7.!N#0&737'G#7'#3!"#,3%(7%'#$&"++#%3#3!"#37D"#2K#3!"#R"'7."# C(D#K"+376%(#7'#>??IN#+9GG"+3";#%8$2(737.%(#&"%;7'GJ#,'#!7+#7'3"&$&"3%372'N#l%&2(#7+#E2(%';# seen in her tortured and impossible relations with Mother Russia, and in her contemporary troubles in behaving as an adult nation.